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What’s the appeal of an art work on an iDevice? Is it because we are familiar with these by now ubiquitous tools and work created on them give the air of being “current”? If that’s the case, maybe we should change our thinking on the matter.
David Hockney “pioneered” this new media gimmick, and even Amy Sillman has tried her hand at it (slightly more successfully), and now artist Francesco Clemente is releasing his first iPad drawing, which s[edition] is selling in an edition of 50o (starting at $100).
The publisher suggests you “take a glimpse into the mind of the artist and witness the creation process of Clemente’s drawings” with the new iWork, which is (we hope ironically) titled “Perfect.”
S[edition]’s mission is noble, the idea of digital limited editions by contemporary artists is great, but iArt — created in the hands of nondigital artists — is almost always a dud. Our pixels should be used for something more useful, like GIFs … obviously.Take Our Poll
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.